NYS Music 20​17

Category: Buffalo

  • Gwar Ruins the 1 Percent at Town Ballroom

    The day after Halloween the ghouls were still out play and people were ready to rock with mutant metal band Gwar. The intergalactic band bestowed mere earthlings of Buffalo in support of their latest album “The Blood of Gods”. Town Ballroom housed all the humans and extraterrestrial bands that night. Brent Purgason was pulling double duty, his band U.S. Bastards, the most earthling related of the group kicked things off.

    Next up was Doyle, The Misfits guitarist Doyle Wolfgang Von Frankenstein, His singer Alex Story gave everyone a good laugh, before every song he said “This is a love song; you can dance to it if you want too.” In a girlish voice that complimented his mini skirt and fishnet stockings.

    Ghoul performed with their potato sack masks,  like something you would see out of a old scary movie. The band’s thematic set is heavily influenced by Gwar. Ghoul had various characters that squirted fake blood — from an odd dictator in a cape and gas mask to their dreaded voodoo magician complete with his large fake chicken that streamed red liquid into the crowd. Also, who wouldn’t love a giant distorted looking turnip to end a set?Black Sabbath`s “War Pigs” came over the speakers and the earthlings started getting wrestles. Fans started singing the first verse at the top of their lungs. GWAR walked onto the stage and started “War on the Gwar” playing the first track off the new album The Blood of Gods. Other new tracks included the catchy “I’ll Be Your Monster Baby” which is probably the closest thing you’ll ever get to a love song by GWAR. Blothar proceeded to covered the front section of the crowd with fake blood from his cow utter like penises

    The crowd of monster lovers also partied to older blood-filled songs like “Hail, Genocide!” and “Saddam a Go-Go.” Everyone who attends a Gwar show knows there is no hold bar with them, they poke fun at politics, corporations, social media and of course religion. During the new song “El Presidente” they brought out a Jabba the Hut looking Donald Trump which received “Boos” from the crowd as well as a mutant version of Hillary Clinton. Both were slaughtered for the gluttonous fans who wanted blood. Politics doesn’t matter at a GWAR show, mutants rule their world.

    “Do you want Blood?” asked Blothar. The already soaked crowd wanted more and they got it. GWAR ended the night with a cover of AC/DC’s “If You Want Blood (You’ve Got it)” Bone Snapper came out with his infamous sawblade spinning machine which spat out waves of blue into the audience.

    After all the recent sad events going on in the world GWAR and the other bands gave people a chance to escape from their troubles and have a great time full of singing laughter and of course blood.

  • John McLaughlin Kicks Off Meeting of the Spirits Tour in Buffalo with Jimmy Herring

    Jimmy Herring and the Invisible Whip struck the match. John McLaughlin and the Fourth Dimension fanned the flames. Together, using material from a 45 year old band, McLaughlin’s Mahavishnu Orchestra, they built a blazing fire inside the University at Buffalo Center for the Arts Wednesday night on the Meeting of the Spirits Tour.

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    It was the first night of a fusion guitar lover’s dream tour, dubbed The Meeting of the Spirits. It will be the last ever North American visit for the legendary British septuagenarian guitarist.

    The opening set from Jimmy Herring’s new solo outfit, was anything but your typical opening set. The seats in the theater were full and the crowd was at full attention from the first notes. Herring showcased his talents in restrained spurts, masterfully directing his bandmates through 50 minutes of exhilarating instrumental fantasies. His crack squad of Jeff Sipe, Jason Crosby, Matt Slocum and Kevin Scott were with him every step of the way through a seven-song set including “1911” and “Jungle Book.” Their mid-set rendition of “Les Brers in A Minor” made clear that it was a jazz fusion tune hiding out in a Southern rock band all along.

    McLaughlin’s Fourth Dimension is another band brimming with talent. Bassist Etienne Mbappe, drummer Ranjit Barot and keyboardist/drummer Gary Husband all had ample space to showcase their talents throughout the set. Masterful bass solos were met with drum solos complete with mind-boggling scat drumming. Husband made the synthesizer a chameleon, realigning the sound continuously. “Kiki” and “Miles Beyond” gave way to more mellow material like “Gaza City” and “El Hombre Que Sabia,” a tune McLaughlin meant to record with Paco Delucia before he passed away, which now he plays as an homage. He wandered the wide-open stage as he played, effortlessly creating guitar sounds that were impossibly perfect at impossible speeds. As their set ended, McLaughlin was ready to keep it going, calling for Herring and band to come out. Call it a first night mix-up, apparently there would need to be a quick break.

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    For the third set both bands combined to form a 9-man fusion supergroup. This was headphone music and luckily the theater’s acoustics were up to the challenge. The sound was impeccable. And the playing was too. Double drummers, double bassists, double keys, and McLaughlin pulled out the double-neck guitar to boot. Somehow as the band doubled in size it only grew tighter. McLaughlin played facing the band for most of the set, not only lead-guitarist but musical director, steering the monster band through a selection of classic Mahavishnu Orchestra tunes. “Meeting of the Spirits,” “Trilogy,” “The Dance of Maya,” not quite as fresh and vital as they were 40 years ago, but still powerful and invigorating. The maestro was in and the class was in session. “Eternity’s Breath” showcased the intensity of a band where every member is a secret weapon. Though perhaps they were most impressive on the mellower “Earth’s Ship,” as the bassists weaved lines around each other and the rest of member’s distinct sounds were teased apart gently to beautiful effect. The inner mounting flame was burning, unfortunately it couldn’t be eternal.

    Leaving a Buffalo stage for the last time, McLaughlin said his final goodbye to the city with a quote from the Eagles, of all things, “We may lose and we may win though, we will never be here again.”

    Take it easy, John.

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  • Interview: A Backstage Chat with The Weekend Classic

    The members of The Weekend Classic are no strangers to life on the road, having spent the past couple years criss-crossing the country to build a fan base one show at a time.

    They make their return to New York State on November 13 with a show at Stamps in Buffalo. The quartet from Madison, Indiana is Chris Webster (vocals/guitar), Christian Richards (drums), Matt White (guitar/vocals), and Ryan Wells (bass/vocals). NYS Music caught up with them backstage at a recent show to talk about what it was like to win last year’s Ernie Ball Play Warped Tour challenge, what keeps drawing them back to New York, and what’s on the horizon.

    Photo by Camrun Courtney

    Paula Cummings: I saw you guys last year in June, and you said that your band goal was to play Warped Tour. Then you won the Ernie Ball Warped Tour Challenge. What was that like?

    Chris Webster: It was pretty crazy. We didn’t think ever in a million years that we’d win a competition like that. Two years prior, we got on the competition and we played  the Cincinnati Warped Tour date. Then we decided to go for it again. We posted about it and we had a lot of support from people. It was really cool.

    PC: As a result, you got to go into the studio with some famous people.

    CW: Chad Gilbert (New Found Glory) and Ryan Key (Yellowcard). That was honestly really cool, too. Just getting to meet them and working with them. It was a little stressful, but it was really good for us. It pushed us to step out of our comfort zone.

    Christian Richards: I feel like he (Chad) re-taught us how to write a song.

    CW: He showed us things that someone who is a professional would know, and us, being us, are not going to know off the bat.

    PC: You guys have toured pretty extensively over the past couple years. You’ve come through New York a few times.

    CR: We’ve been to Long Island once before, twice now, and Buffalo, Rochester, and Poughkeepsie.

    PC: What keeps you coming back to New York?

    Matt White: Its a huge market. You can play a lot of places in New York.

    CR: And a lot of great bands, too, all spread out through New York.

    PC: What’s up next?

    CW: We have some more touring that we know we’re going to be doing.

    CR: Write a record. And release some songs we haven’t put out yet. They’re a lot better than anything else we’ve done. But they’re not there just yet, not fully ready.

    PC: What can we look forward to with the new music?

    CW: There’s a more mature sound to it, more in the direction we want to go.

    CR: I feel like we wrote it for ourselves.

    MW: We think its sick.

    Catch The Weekend Classic on tour this month. They are joined on select dates by In Good Nature, Young Culture, and Chris Swartz. Tickets are on sale now. Their music is available on iTunes, Spotify, and Bandcamp. Follow on Facebook for updates on shows and new music.

  • Nietzsche’s FolkFest 2017 Lineup includes Folkfaces, Jonathan Richman

    Nietzsche’s dropped the lineup for the 2017 edition of their FolkFest, which takes place next week at the famed Buffalo club. The second annual FolkFest features headliner Jonathan Richman and NYS Music 87/90 act Folkfaces.

    After a successful inaugural year, Nietzsche’s brings back their FolkFest for 2017. The fest kicks off on Wednesday, Nov. 8 and runs through Saturday, Nov. 11. Jonathan Richman, known for his work with the Modern Lovers, headlines the festival on Nov. 11 at 8 p.m.

    Tyler Westcott and Dr. Jazz kick off the festivities on Wednesday at 6 p.m. with some old time swing and gypsy jazz. The headliner on Wednesday is the Oddjob Ensemble from Santa Rosa, California at 10 p.m. Following them is 18 Wheels and a Crowbar.

    Thursday night features the Heenan Brothers followed by local act the Observers. The Dishonest Fiddlers, of Northeast Pennsylvania headline the night at 10:30 p.m. Rockabilly Steve and RB3 close out the night at midnight.

    The fest starts to heat up on Friday with Seth Faergolzia’s Multibird from Rochester headlining the night at 11:30 p.m. The music kicks off with Cooper and Gin at 10 p.m. followed by Utica’s the Old Main at 10:30 pm. Ryan Sutherland and Dave Brown cap off the night at 1 a.m.

    Follow the festival headliner show with Jonathan Richman, there is a second late night show with second tier headliners the Crooked North at 10 p.m. The late show also features NYS Music 87/90 act Folkfaces at 11:30 p.m. followed by Pine Fever at 12:30 a.m. The festival concludes at 1:30 a.m. with Chris James and Mama G.

    Admission for Wednesday and Thursday nights is $5. Friday and Saturday’s late night run $10 with Saturday’s headliner set costing $15 to get in. All shows are 21 and over, though minors will be admitted when accompanied by an adult.

    Nietszche’s FolkFest 2017 Lineup

    Wednesday, Nov. 8
    Oddjob Ensemble
    18 Wheels and a Crowbar
    Tyler Westcott and Dr. Jazz
    No Illusions
    Bess Greenberg
    Tough Old Bird
    Old Time Hoedown
    Cairde “That’s Irish for Friends”
    Mike & Kathy

    Thursday, Nov. 9
    The Dishonest Fiddlers
    The Observers
    The Heenan Brothers
    Rockabilly Steve & RB3
    Greg Barresi
    Nickel City String Band
    James Robert Kibby

    Friday, Nov. 10
    Seth Faergolzia’s Multibird
    The Old Main
    Cooper and Gin
    Ryan Sutherland and Dave Brown

    Saturday, Nov. 11
    Jonathan Richman
    Folkfaces
    Pine Fever
    The Crooked North
    Chris James & Mama G

  • Photo Gallery: Jimkata at Buffalo Iron Works

    Jimkata‘s farewell tour saw them stopping at a sold out Buffalo Iron Works on October 20. Jimkata Nation packed the place eagerly anticipating the Friday night throwdown while West End Blend‘s opening set made sure things got started with a funky good time. Soon enough the lights dimmed, the trio took the stage and memories were made…

  • Listen to Intrepid Travelers Themed September Residency at Nietzsche’s

    After a September residency at local Buffalo dwelling, Nietzches, Intrepid Travelers packed up their sets chock-full of themes and set their sights on new residencies. Week one offered tunes from the British Invasion, spanning from the expected efforts of the Rolling Stones, Beatles, The Who, Cream, and Jimi Hendrix while week two introduced a set list that spelled out”Witty Tarbox.”

    Carefully crafted to spell its theme out with the first letter in each track, week two ripped through an eclectic combination of tunes by pairing Pink Floyd, Rush, Talking Heads and Lotus covers in the company of Diana Ross and Dr. Dre.  Sam Pavlovich was introduced as the new bassist in Intrepid Travelers and sat in on “Take Me to the River,” “YYZ,” “Xxplosive,” and “Funky Duck.”

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    2017/09/14 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    The third week of the IT residency treated fans to an intersteller set appropriately in place with Space Junk acting as supporting act. The night unveiled “Space Odyssey,” “Satellite of Love,” “Rocket Man,” “Great Gig in the Sky,” “Standing on the Moon,” and other intergalactic classic rock favorites. The fourth and final week closed out a wildly executed residency with a final theme as a play on “dirt,” with musical support from Dirty Blanket. Also acting as David Neimanis’ last as a member of Intrepid Travelers, the group welcomed covers of musical giants Steely Dan, Frank Zappa, Phish, Primus, Lettuce and more, with the help of Ellen Pieroni on saxophone.

    2017/09/21 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    2017/09/28 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    IT are already in the midst of their latest residency at Funk N Waffles in Rochester, every Wednesday for the month of October!

  • Giant Panda Guerilla Dub Squad Links Kingston to Buffalo

    With the bustling, vibrant music scene which Buffalo has remarkably fostered, there are often many places a music lover can find solace on an active Saturday night. Despite the many options, it seems many WNY music lovers knew the place to be on Saturday, September 30 was in Buffalo at The Tralf Music Hall to catch a nearly sold out performance by Rochester’s own reggae powerhouse Giant Panda Guerilla Dub Squad (GPGDS).

    Attendants were in great spirits as they frolicked through the doors and found a place to put their recently located jackets and sweatshirts on Buffalo’s first truly chilly Autumn night. The festivities began right on time with Hip-Hop Duo Level 7 Experience acting as the night’s MC and performing on the floor in front of the stage to better engage with the audience while the bands set up.

    The crowd was loose and ready to dance once Level 7 Experience finished their first set and the opening band, Thunder Body, took the stage. The multi-instrumental, Rochester-local Dub group took no time to get started as they performed a bouncing set, spanning multiple genres. Jumping from reggae to ska to outward psychedelia, the well-rehearsed band did an excellent job using their horn section, percussionists, and theremin to create a very distinct sound of their own. It seemed as though they could play all night and everyone would have been okay with it, but unfortunately time was not on their side and they had to leave room for the main course.

    After a well-earned standing ovation, Level 7 Experience took to the floor once again to entertain the crowd while the stage was set for GPGDS. Now that people were a bit more liquored up and frisky, the duo played to the room and performed more call and response songs than their first set. By the time they finished their last number and thanked the crowd, GPGDS took the stage leaving almost no time between performances.

    As the band took the stage, the screen behind them featured a homage to the city by displaying the Bill’s logo with the buffalo replaced by a panda. It quickly became clear that this was a reoccurring symbol as many people in the crowd wore shirts with the logo, indicating how invested and committed the reggae band’s fanbase was in the area.

    A long, slow drum segment started out the set, leading to an explosion of funk and reggae with bass player James Searl and drummer Chris O’Brian holding down the low end while guitarist Dylan Savage played a scratchy rhythm to get the crowd grooving. After the long intro, O’Brian mixed things up by playing a Latino-inspired beat prompting Searl to holler a Marley-inspired rap with quick, impressive alliteration. Following a breakdown and nailed composed ending, the band slowed things down and segued perfectly into a slower reggae number.

    The light, minimalist reggae tune transformed the Tralf from a dark, oddly shaped room to a refreshing summer day just relaxing by the pond. Reggae fans experienced exactly what they came for as keyboardist Tony Gallicchio sprinkled light-hearted fills throughout the tune while the rest of the band kept things easy. From there they shifted the tempo once again to a faster reggae number which allowed guitarist Dan Keller to showcase his musical expertise by taking the quick reggae tune to space, infusing his love of reggae with that of psychedelia.

    One of the most impressive aspects of GPGDS is their ability to jump from song to song without any stopping and constructing their setlist to feel seamless. They controlled the energy in the room throughout the night with few breaks in the music and making the show feel like a sound wave; going up and down as they played songs with varying tempos one after another.

    Each member of the band was proficient at what they played and took turns on lead vocals. Throughout the night the band excelled at giving the crowd a genuine reggae performance while at the same time incorporating different genres to establish a sound of their own. By welcoming guest spots from the previous acts, there was never a dull moment throughout the show as you could not predict what was coming next.

    Had you told me I would be walking out of this show and entering the humid streets of Kingston, I might have believed you after that performance. It is clear why GPGDS has such a strong following among reggae fans, and they can truly do justice to a genre of music that so many bands tend to butcher.

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  • Head North Announces Coast to Coast Fall Tour Dates, with Stops in Brooklyn and Buffalo

    Buffalo’s Head North announced this week that they will be supporting Australian punk pop band Trophy Eyes on a North American Tour. They’ve also booked a series of headlining shows in the Midwest leading up to the extensive 21-date tour. A hometown show at Mohawk Place in Buffalo is slated for Tuesday, Dec. 12. They play New York City at Brooklyn Bazaar on Thursday, Dec. 14. The tour promotes Head North’s recently released debut full-length album The Last Living Man Alive Ever In The History Of The World, a concept album which explores themes about coming of age in a dystopian society. Tickets are on sale now.

    Head North. Photo: Eli Ritter

    Head North burst onto the pop punk scene in 2015 with their EP Bloodlines and toured relentlessly – crossing the country three times with bands like Knuckle Puck and Have Mercy. After taking time off, they came back this summer with the self-released LP The Last Living Man Alive Ever In The History Of The World, departing from their early angst-driven work and making a foray into indie rock.

    The way we operated our band, and the trajectory that we were on in 2015, helped us decide what type of band we wanted to be and how we wanted our sound to reflect that,” drummer Ben Lieber told NYS Music in a recent interview. “And I think what it came down to was being genuine. The sonic direction was a result of personal growth as well as realizing what we didn’t want to do.”

    The Last Living Man Alive Ever In The History Of The World is available to stream on Spotify and can be purchased digitally on iTunes and Bandcamp. Physical copies on CD and vinyl, in addition to other merchandise are available on Head North’s webstore.

    Tour Dates:

    Headlining Shows:
    Nov. 14 – Indianapolis, IN – Hoosier Dome
    Nov. 15 – Chicago, IL – Camp/Us
    Nov. 16 – Dubuque, IA – Olliewood
    Nov. 17 – Ames, IA – The Pine House
    Nov. 18 – Omaha, NE – The Commons

    With Trophy Eyes and Free Throw:
    Nov. 24 – Seattle, WA – The Funhouse
    Nov. 25 – Portland, OR – Analog Lounge
    Nov. 26 – Berkeley, CA – Cornerstone
    Nov. 27 – Los Angeles, CA – Echo
    Nov. 28 – Anaheim, CA – Chain Reaction
    Nov. 29 – San Diego, CA – The Irenic
    Nov. 30 – Phoenix, AZ – Rebel Lounge
    Dec. 2 – Dallas, TX – Dirty 30
    Dec. 3 – Houston, TX – Walters
    Dec. 5 – Atlanta, GA – The Masquerade
    Dec. 6 – Nashville, TN – The End
    Dec. 7 – Columbus, OH – Woodlands Tavern
    Dec. 8 – Detroit, MI – The Shelter
    Dec. 9 – Cleveland, OH – Mahalls
    Dec. 10 – Toronto, ON – The Hard Luck
    Dec. 12 – Buffalo, NY – Mohawk Place
    Dec. 13 – Boston, MA – Sonia
    Dec. 14 – Brooklyn, NY – Brooklyn Bazaar
    Dec. 15 – Philadelphia, PA – The Foundry
    Dec. 16 – Washington D.C. – DC9
    Dec. 17 – Asbury Park, NJ – House Of Independents

  • Lettuce Brings the Funk to Buffalo

    People from all walks of life gathered together in Buffalo at the intimate Tralf Music Hall Sunday, September 17 to experience the long-awaited return of the Boston-based funk machine that is Lettuce. While it was a typical, dreary September Buffalo night outside, the crowd and aura of the dancefloor gave the feeling that you were at a late Saturday night festival show.

    lettuce funk buffaloThe show began with a high energy DJ set by the up and coming electronic artist Maddy O’Neal. The 45-minute set showcased a great combination of bone shaking bass drops, obscure drum beats, and well-placed sound effects as she sampled songs that were both familiar and unfamiliar to the crowd. O’Neal’s energetic movements blurred the lines between the crowd and the performer as red, blue and yellow lights swirled around the stage and inspired the mostly timid crowd to get up and dance. By the end of her set nearly the entire dancefloor was filled and grooving, and the crowd was warmed up and ready for the meat- or vegetable- of the show.

    The audience was ecstatic when Lettuce took the stage, with a few extra cheers and whistles directed towards keyboard player Nigel Hall who emerged from behind the curtain in a Bill’s hat and old-school O.J. Simpson jersey. The band took no time getting going as they opened with an electrifying “Requiem,” a song that wove jazz and funk influences as drummer Adam Deitch and bass player Erick “Jesus” Coomes held down a steady funk groove while trumpet player Eric Bloom and saxophonist Ryan Zoidis skillfully whirled through a Middle-Eastern melody.

    The tight stage and small venue created a college-basement feeling as the crowd was now shoulder to shoulder, bobbing and spinning just feet from the almost comically over-packed, tiny stage of musicians. The next two songs kept the energy high as they blasted through “Get Greasy” and “Chief,” two fat funk instrumentals which gave the band multiple opportunities to showcase their ability to control the energy in the room and build to a peak out of almost thin air. The crowd clearly appreciated the heavy funk to start the show because by the end of the third song multiple heads of lettuce could be seen flying around the audience.

    The band slowed things down a bit with “Dump,” the first song featuring vocals, which sounded like a cross between James Brown and Stevie Wonder. Hall did a magnificent job handling the vocals with his delicate yet dominating voice, as the band played softly around him.

    The next few numbers highlighted the band’s ability to create ambience while at the same time holding on tight to their funk roots. The intro to “Ready to Live” gave the feeling that you were being ominously watched as you went scuba-diving through an abandoned shipwreck at the bottom of the ocean, eventually being pulled up to the surface by the funky breakdown.

    High energy jazz solos by guitarist Adam “Shmeeans” Smirnoff was a clear highlight to the diverse crowd before the band took a quick break leaving Deitch alone on stage to hammer out an intense, Bonham-like drum solo. When the band returned to the stage, they might as well have come back with George Clinton with them because they brought the funk. The crowd exploded with the band, and there was not a single person whose neck wouldn’t be sore in the morning from the trance-like grooving.

    The band ended their set with two songs containing more vocals than they had utilized the entire night. During “Shmink Dabby” Hall taunted the audience in a James Brown-like fashion yelling “Buffalo, Hit Me!” while Zoidis let out a powerful saxophone solo. They ended their set with “Sounds Like a Party,” a fun song that does in fact sound like a party. During the breakdown, each band member took a small solo before coming together as one entity to leave the crowd on a high note.

    The band did not leave the stage for long before the crowd began a “One More Song!” chant, forcing the musicians back out almost immediately. The band thanked the audience and gave them a little more of what they wanted with a bustling rendition of “The Flu.” Hugs, high fives, and smiles were exchanged as the crowd left the venue, with every soul feeling just a bit richer thanks to the night of funk they had just experienced together.

    Setlist: Requiem > Get Greasy > Chief > Dump > Ready to Live > Purple Cabbage > Kron Dutch > Blaze > Phyllis > Lettsanity > Shmink Dabby > Sounds Like A Party

    Encore: The Flu

  • Hearing Aide: The Rifts ‘Off the Rails’

    There are many people out there who would argue that rock is losing its edge. Countless old folks continue to make the bold statement that “rock n roll is dead.” Anyone who believes this laughable claim has yet to listen to The Rifts’ debut EP, Off the Rails.

    the riftsAlthough they are based out of Buffalo, The Rifts originally came together in Fredonia, NY. The band consists of Cory Clancy (lead guitar), Brendan Hoare (vocals/rhythm guitar), Dylan MacDonell (drums), and Ryan Donohue (bass). Their self-proclaimed influences consist of classic acts Led Zeppelin and The Doors, as well as modern day alt rockers The Black Keys and The Strokes.

    The Rifts recorded the EP with Alex Maiola and Nathan Chordas-Ewell (Chordola Audio) in their home studio. It was released on SoundCloud June 11, 2017, and became available on streaming platforms June 16, 2017.

    The EP title Off the Rails says a lot more than the train crash shown on the album artwork. With this release, The Rifts break away from the monotonous track that too many popular bands seem to follow nowadays. The EP is firmly built around Cory’s electrifying guitar riffs, and each track is a portal that sends listeners back to “the good old days of rock n roll.”

    If you’re still unconvinced after reading this review, take a listen for yourself. Off the Rails is available on Spotify, iTunes/Apple Music, and SoundCloud.

    Key Tracks: Twelve, Head on a Swivel, Burn Out